The Squaw Man Film Completo In Italiano Download Gratuito Hd 1080p

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The Squaw Man Film Completo In Italiano Download Gratuito Hd 1080p ->->->-> DOWNLOAD (Mirror #1)

Original Title: The Squaw Man

Genge: Action,Drama,Romance,Western

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

James Wynnegate, an English army officer, is made the guardian of a trust fund raised by the members of his regiment for the relief of the widows of those who die in battle. The Earl of Kerhill, a member of Wynnegate's regiment, by means of a forged check, embezzles the fund. To save the honor of the family, Wynnegate agrees with the Earl's mother to disappear and let it be understood that he is the embezzler. He leaves England in a trading schooner. The schooner, in mid-ocean, catches afire, and bums to the water's edge, the crew being saved in the lifeboats. The boat containing Wynnegate and others is rescued by a steamer bound for America, and in the garb of an English tourist, he is seen next on the Great White Way. Wynnegate changes his name to Jim Carston and is instrumental in saving a Westerner from a confidence game. He and the Westerner become friends and at the latter's suggestion, they go west, where Carston buys a ranch. His general good fellowship, manliness and upright dealings incurs for him the jealousy and hatred of a noted bad man, "Cash" Hawkins. Hawkins makes several attempts on Carston which, however, are unsuccessful. Hawkins on the third attempt nearly succeeds, but is shot down from behind by a beautiful Indian girl, who secretly loves Carston. The Indian girl. Nat-U-Rich, later saves Carston from death in the mountains and again from an attack of mountain wolves. Out of gratitude, Carston marries Nat-U-Rich and a little boy blesses the union. In the meantime the Earl of Kerhill's mother is advised to seek another climate and locates in the vicinity of Carston's ranch and they meet, after two years. Carston is now known as the Squaw Man, a successful ranchero. The Earl of Kerhill, injured unto death during a polo game, signs a confession, exonerating Carston. Carston's friends and relatives in England then endeavor to prevail upon him to return, but realizing that his squaw wife would not endure in English society, remains on his ranch at Green River. He decides, however, to let his little boy return to be educated for his station in life, for the child eventually will be rich and bear the title of Earl. Nat-U-Rich, the mother, learns her son is to be taken from her and misconstruing the intent, suicides. The widow of the Earl of Kerhill is at the ranch with English friends and as the picture slowly fades away, the Squaw Man turns to her, his first love.
A chivalrous British officer takes the blame for his cousin's embezzlement and journeys to the American West to start a new life on a cattle ranch.
A western with dull if bleak scenery and costumes that look mighty strange (though doubtless the real items), this is an interesting example of early film-making, but one that will delight mainly critics and historians rather than the general movie fan.

The dated, old-hat story is a little difficult to follow at first because the two cousins, James and Henry, are understandably lookalikes, and neither actor has the skills to differentiate himself. In fact, it's hard to believe that stolid Dustin Farnum had a big stage reputation as he displays little charisma or ability here. However, he doubtless improved because he made another forty movies before retiring in 1926. (He married his leading lady here, Winifred Kingston, in 1924).

The rest of the players run rings around Farnum in "The Squaw Man". Red Wing is reasonably effective as the real heroine of the piece, but it's personable Dick LaReno, here making his first of 81 movies, who really impresses as our hero's foreman—not the sheriff who is played by either Dick Palace or W.H. Stratton. And I think that's Art Acord playing the deputy. It's hard to tell because there are no close-ups. Each scene is filmed with either a static long shot or medium group shot. And there is virtually no camera movement apart from a few slight pans. The Squaw Man may be best remembered as the first picture directed by Cecil B. DeMille, and the first made in Hollywood, then a convenient wilderness. It's a rather inglorious debut on both counts, and nowadays is perhaps most interesting as an example of the early western feature.

In pioneer westerns of the 20s and 30s the main theme was usually the exploration of the unclaimed west, but in the 1910s the most common set-up was of a civilized easterner heading to an already-settled but still unruly west. This is the case in Griffith westerns like The Battle of Elderbrush Gulch (1913), as well as later features by DeMille such as The Virginian (1914) and A Romance of the Redwoods (1917). It's worth bearing in mind that, in this early part of the twentieth century the "old" west would have been a fairly recent memory, and the western was then more a lesson in geography than history. It's also rather apt given the circumstances of production – companies from the east going out west – and probably also the reason why they are called westerns and rather than being some sub-genre of the historical feature.

While the outsider in westerns of this period was typically a lady or gentleman of New York or some other east coast city, the titular squaw man is an Englishman. There are a few establishing scenes set in England, with a plot regarding an embezzlement from an orphan's fund that is very reminiscent of Griffith's biograph shorts. This is not surprising, as Griffith took his themes from the American stage where he began his career, and The Squaw Man is based on a play. The trouble is, Griffith was a master at making these theatrical stories cinematic, whereas the adaptation of The Squaw Man is rather flat and weak. The plot takes bizarre, improbable and pointless turns, sometimes getting bogged down in subplot and at other points zipping ahead making the narrative incomprehensible at times.

As noted this was Cecil B. DeMille's debut as director, although this is perhaps misleading. It was co-directed by Oscar Apfel, who had already made two-dozen shorts for Edison and Pathe. Accounts of the production state that Apfel handled the technical side of things, whereas DeMille coached the actors. DeMille may therefore be responsible for some of the fairly decent naturalistic acting on display here, although there are some lapses into appalling pantomime. There are some DeMille style attempts to photograph the imagination, with double exposures showing the hero dreaming of home, one of which is very effective, with a picture in a magazine morphing into the woman he has left behind. There also seem to be some experiments with lighting going on with some contrasting brightness and dimness in interiors, perhaps a forerunner of the Rembrandt lighting that would soon become a DeMille trademark. It is of course very difficult to accurately attribute ideas, although DeMille is also credited as "picturizer" (i.e. screenwriter) and producer.

In spite of these meagre marks of quality, as a whole The Squaw Man lacks excitement and real drama. In comparison DeMille's first feature as solo director, The Virginian, is a far more solid production, and although made only a few months after The Squaw Man it is light years ahead in style.

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